Zen and the Art of Motorcycle Maintenance

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Zen and the Art of Motorcycle maintenance: An Inquiry into Values
Zen motorcycle.jpg
First edition
AuthorRobert M. Pirsig
CountryUnited States
LanguageEnglish
GenrePhilosophical fiction, Autobiographical novel[1]
Published1974 (William Morrow and Company)
Media typePrint (hardcover and paperback)
Pages418 pp
ISBN0-688-00230-7
OCLC673595
917.3/04/920924 B
LC ClassCT275.P648 A3 1974
Followed byLila: An Inquiry into Morals 

Zen and the Art of Motorcycle Maintenance: An Inquiry into Values (ZAMM) is a book by Robert M. Pirsig first published in 1974. It is a work of fictionalized autobiography, and is the first of Pirsig's texts in which he explores his "Metaphysics of Quality".

Pirsig received 126 rejections before an editor finally accepted the book for publication—and he did so thinking it would never generate a profit. It was subsequently featured on best-seller lists for decades, with initial sales of at least 5 million copies worldwide.[2] The title is an apparent play on the title of the 1948 book Zen in the Art of Archery by Eugen Herrigel. In its introduction, Pirsig explains that, despite its title, "it should in no way be associated with that great body of factual information relating to orthodox Zen Buddhist practice. It's not very factual on motorcycles, either."

Structure[edit]

According to Edward Abbey, the book is a fictionalized autobiography of a 17-day journey that Pirsig made on a motorcycle from Minnesota to Northern California along with his son Chris.[1] The story of this journey is recounted in a first-person narrative, although the author is not identified. Father and son are also accompanied, for the first nine days of the trip, by close friends John and Sylvia Sutherland, with whom they part ways in Montana. The trip is punctuated by numerous philosophical discussions, referred to as Chautauquas by the author, on topics including epistemology, the history of philosophy, and the philosophy of science.

Many of these discussions are tied together by the story of the narrator's own past self, who is referred to in the third person as Phaedrus (after Plato's dialogue). Phaedrus, a teacher of creative and technical writing at a small college, became engrossed in the question of what defines good writing, and what in general defines good, or "Quality", which he understands similar to Tao. His philosophical investigations eventually drove him insane, and he was subjected to electroconvulsive therapy, which permanently changed his personality.

Towards the end of the book, Phaedrus's strong and unorthodox personality, presented as dangerous to the narrator, begins to re-emerge and the narrator is reconciled with his past.

Writing[edit]

In a 1974 interview with National Public Radio, Pirsig stated that the book took him four years to write. During two of these years, Pirsig continued working at his job of writing computer manuals. This caused him to fall into an unorthodox schedule, waking up very early and writing Zen from 2 a.m. until 6 a.m., then eating and going to his day job. He would sleep during his lunch break and then go to bed around 6 in the evening. Pirsig joked that his co-workers noticed that he was "a lot less perky" than everyone else.[3]

Themes[edit]

Philosophical content[edit]

In the book, the narrator describes the "romantic" approach to life of his friend, John Sutherland, who chooses not to learn how to maintain his expensive new motorcycle. John simply hopes for the best with his bike, and when problems do occur he often becomes frustrated and is forced to rely on professional mechanics to repair it. In contrast, the "classical" narrator has an older motorcycle which he is usually able to diagnose and repair himself through the use of rational problem-solving skills.

In an example of the classical approach, the narrator explains that one must pay continual attention: when the narrator and his friends came into Miles City, Montana[4] he notices that the "engine idle is loping a little", a possible indication that the fuel/air mixture is too rich. The next day he is thinking of this as he is going through his ritual to adjust the jets on his motorcycle's carburetor. During the adjustment, he notes that both spark plugs are black, confirming a rich mixture. He recognizes that the higher elevation is causing the engine to run rich. The narrator rectifies this by installing new jets with the valves adjusted, and the engine runs well again.

With this, the book details two types of personalities: those who are interested mostly in gestalts (romantic viewpoints focused on being "in the moment", and not on rational analysis), and those who seek to know details, understand inner workings, and master mechanics (classic viewpoints with application of rational analysis, vis-a-vis motorcycle maintenance).

The Sutherlands represent an exclusively romantic attitude toward the world. The narrator initially appears to prefer the classic approach. It later becomes apparent that he understands both viewpoints and is aiming for the middle ground. He understands that technology, and the "dehumanized world" it carries with it, appears ugly and repulsive to a romantic person. He knows that such persons are determined to shoehorn all of life's experience into the romantic view. Pirsig is capable of seeing the beauty of technology and feels good about mechanical work, where the goal is "to achieve an inner peace of mind". The book demonstrates that motorcycle maintenance may be dull and tedious drudgery or an enjoyable and pleasurable pastime; it all depends on attitude.

The narrator examines the modern pursuit of "Pure Truths", claiming it derives from the work of early Greek philosophers who were establishing the concept of truth in opposition to the force of "The Good". He argues that although rational thought may find a truth (or The Truth) it may never be fully and universally applicable to every individual's experience. Therefore, what is needed is an approach to life that is more inclusive and has a wider range of application. He makes a case that originally the Greeks did not distinguish between "Quality" and "Truth"—they were one and the same, arete—and that the divorce was, in fact, artificial (though needed at the time) and is now a source of much frustration and unhappiness in the world, particularly overall dissatisfaction with modern life.

The narrator aims towards a perception of the world that embraces both sides, the rational and the romantic. This means encompassing "irrational" sources of wisdom and understanding as well as science, reason and technology. In particular, this must include bursts of creativity and intuition that seemingly come from nowhere and are not (in his view) rationally explicable. He seeks to demonstrate that rationality and Zen-like "being in the moment" can harmoniously coexist. He suggests such a combination of rationality and romanticism can potentially bring a higher quality of life.

It has been noted that Pirsig's romantic/classical dichotomy resembles Nietzsche's Dionysian/Apollonian dichotomy as described in The Birth of Tragedy. For example, in his book The Person of the Therapist, Edward Smith writes, "In his popular novel ... Pirsig also addressed the Apollonian and Dionysian worldviews, naming them respectively classical understanding and romantic understanding."[5]

The self and relationships[edit]

Beverly Gross (1984) writes that Pirsig is seeking a synthesis of "the normal, everyday, functioning self with the person given to extremes, excesses, dizzying heights, obsessions—our crazy self with our sane self, the greatness in us with our ordinariness". The exceptional in the narrator is represented by Phaedrus, who, despite the narrator's attempt to keep him in the past, pushes to the foreground of his mind toward the book's end, threatening the narrator's stability and relationship with his son. However, the narrator's difficulties with his son during the journey also question whether giving up parts of himself in exchange for "sanity" has even helped this relationship. Gross writes, "He relates to mechanical things, not to people. There is beauty in his recognition that personality inheres in motorcycles, riding gloves; there is sadness and sickness in his removal from the personality of people, his own most notably". The Chautauquas, which emphasize the narrator's tendency toward solitary thought and over-analysis, may reflect his avoidance of the problems before him: his relationships and the resurrection of Phaedrus. To the extent that the narrator denies Phaedrus, the Chautauquas are practical, but when he decides that he will admit himself to hospital again, he realizes the undeniable presence of Phaedrus in him, and the Chautauquas are given over to those more abstruse topics.[6]

Gumption traps[edit]

A gumption trap is an event or mindset that can cause a person to lose enthusiasm and become discouraged from starting or continuing a project. The word "gumption" denotes a combination of commonsense, shrewdness, and a sense of initiative.[7] Although the last of these traits is the primary victim of the "gumption trap," the first two suffer indirectly in that a reduction in initiative results in a reduction in constructive activity and therefore inhibits one's development of the first two traits. The "trap" portion of the term refers to the positive feedback loop that the event or mindset creates: That the reduction in the person's enthusiasm and initiative decreases both the person's likelihood of success in that project and the degree of success likely (thus doubly affecting the expected outcome of the person's efforts). The usual result, whether a mere lack of success or instead an outright failure complete with embarrassment and loss of the resources initially invested, further discourages the person.

The specific term "gumption trap" was coined by Pirsig, and the associated concept plays an important part in the practical application of his Metaphysics of Quality.

Types[edit]

Pirsig refers to two types of gumption traps: setbacks, which arise from external/"exogenous" events, and hang-ups, which are the product of internal/"endogenous" factors such as a poor fit between one's psychological state and the requirements of a project.[8]

Setbacks[edit]

The nature of setbacks can vary considerably. For example, a minor setback might result from a minor injury. Larger setbacks include the lack of knowledge that a certain procedural step or other condition is necessary for a project's success: If one attempts to keep working despite the lack of knowledge that this obstacle exists (let alone how to deal with it), one's lack of progress may prompt one to take long breaks from the project, to focus one's attention on other endeavors, or even to lose interest in the project altogether. Pirsig suggests preventing these kinds of gumption traps by being slow and meticulous, taking notes that might help later, and troubleshooting in advance (e.g., by laying out the requirements for one's project in logical and/or conceptual order and looking for procedural problems ranging from unaccounted-for prerequisites to gaps in one's instructions or plans).

Hang-Ups[edit]

Hang-ups stem from internal factors that can get in the way of starting or completing a project. Examples of such hang-ups include anxiety, boredom, impatience, and the failure (often borne of excessive egotism) to realize that a) one might not have all the information necessary to succeed and/or b) certain aspects of the problem might be more or less important than one believes. Dealing with hang-ups can be as simple as reducing hyperfocus on a specific aspect of a problem by taking a short break from working on the problem or that specific aspect of it.

Pirsig notes several aspects of hang-ups.

  • Affective (i.e. receptive or dynamic) understanding or 'value traps': these can be described generally as an inability or reluctance to re-evaluate notions due to a commitment to previous values. On the whole these types of issues can be addressed by (1) rediscovering facts as they arise; (2) recognizing that the facts are available and apparent; (3) deliberately slowing down to allow unstructured processing of information; and (4) reassessing the weight attached to the current knowledge.
  • Egotism may encourage one to believe misleading information or disbelieve a potentially inconvenient fact. Appropriate recourses include humility, modesty, attentiveness and skepticism.
  • Anxiety may preclude the confidence necessary to begin a project or the self-assurance needed to patiently work through a project systematically. Appropriate recourses include research, study and preparation prior to beginning the project; detailing the anticipated steps required to accomplish the task; and understanding the personhood and fallibility of professionals.
  • Boredom may cause sloppy work and inattention to detail. Appropriate recourses include taking a break to allow interest in the project to rebuild or ritualizing common practices. Pirsig notes that at the first sign of boredom, it is important to stop work immediately.
  • Impatience, like boredom, may cause sloppy work and inattention to detail. Appropriate recourses include allowing indefinite time for the project and value flexibility to rediscover aspects of the project.
  • Cognitive understanding or 'truth traps': these can be described as misunderstanding the feedback of a given action.
  • Reliance on yes-no duality may cause misinterpretation of results. Pirsig notes the concept of mu and suggests the answer to a particular question may indicate that the question does not match the situation. An appropriate recourse may be to reconsider the context of the inquiry.
  • Psychomotor behavior or 'muscle traps': these surround the interaction of the environment, machinist and machine.
  • Inadequate tools may lead to a feeling of frustration. Appropriate recourses include proper equipment acquisition.
  • Environmental factors may lead to frustration including inadequate lighting, temperature extremes and physically uncomfortable positions.
  • Muscular insensitivity or lack of proprioception may lead to a disproportionate amount of force being applied to a material that leads to frustration. Misunderstanding of different tolerances of various materials may lead to broken parts or inadequate tension.

Reception[edit]

At the time of its publication, Christopher Lehmann-Haupt, in his book review for the New York Times, wrote,

I now regret that I lack the expertise in philosophy to put Mr. Pirsig's ideas to a proper test, for this book may very well be a profoundly important one—a great one even—full of insights into our most perplexing contemporary dilemmas. I just don't know. But whatever its true philosophical worth, it is intellectual entertainment of the highest order.[9]

Since then, Zen and the Art of Motorcycle Maintenance has become the best-selling philosophy book of all time.[10]

See also[edit]

References[edit]

  1. ^ a b Abbey, Edward (March 30, 1975). "Novelistic autobiography, autobiographical novel? No matter". The New York Times.
  2. ^ Reuters (25 April 2017). "Robert Pirsig, Author Of 'Zen And The Art Of Motorcycle Maintenance,' Dead At 88".
  3. ^ 'Zen and the Art of Motorcycle Maintenance Author' Robert Pirsig at NPR online audio archive
  4. ^ Part II, Ch. 8, pages 80, 81 in the paperback edition for which the image is shown
  5. ^ Smith, Edward W. L. (2003). The Person of the Therapist, McFarland & Company Inc, p. 97.
  6. ^ Gross, Beverly (1984). "'A Mind Divided against Itself': Madness in 'Zen and the Art of Motorcycle Maintenance'". The Journal of Narrative Technique. 14 (3): 201–213. JSTOR 30225102.
  7. ^ "gumption". thefreedictionary.com. Retrieved 11 May 2014.
  8. ^ Pirsig, Robert M. (1999). Zen and the Art of Motorcycle Maintenance: An Inquiry into Values. New York: Quill. ISBN 0-688-17166-4. 25th Anniversary Edition.
  9. ^ https://timesmachine.nytimes.com/timesmachine/1974/04/16/148805272.html?action=click&contentCollection=Archives&module=LedeAsset&region=ArchiveBody&pgtype=article
  10. ^ https://philosophynow.org/issues/122/Robert_Pirsig_and_His_Metaphysics_of_Quality

External links[edit]